CHARLES  M.  TAYLOR,  JR. 


i 


WHY  MY  PHOTOGRAPHS 
ARE  BAD 


BOOKS  BY  CHARLES  M.  TAYLOR,  JR. 


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GEORGE  W.  JACOBS  & COMPANY, 

PUBLISHERS.  PHILADELPHIA. 


Why  My  Photographs 
Are  Bad 


BY 

CHARLES  M.  TAYLOR,  Jr. 

Author  of  u Odd  Bits  of  Travel  with  Brush  and  Camera 
“ Touring  Alaska  and  The  Yellowstone  f etc. 


ILLUSTRATED  FROM  PHOTOGRAPHS 
BY  THE  AUTHOR 


PHILADELPHIA 

GEORGE  W.  JACOBS  & CO 

MCMII 


Copyright,  1902, 

By  George  W.  Jacobs  & Co. 
Published,  May , igoa 


1 DEDICATE  THIS  TOLU  ME  TO 
MT  FRIEND  AND  PUBLISHER 
GEORGE  W.  JACOBS 


As  the  language  of  the  face 
is  universal,  so  'tis  very  com- 
prehensive; no  laconism  can 
reach  it:  'tis  the  shorthand  of 
the  mind,  and  crowds  a great 
deal  in  a little  room. 

—Jeremy  Collier . 


PREFACE 


In  memory  of  the  many  trials  and 
errors  of  my  own  experience  in  photog- 
raphy, I launch  this  volume  upon  its 
career,  hoping  it . may  aid  the  ambitious 
beginner,  and  enable  him  to  avoid  the 
most  common  mistakes  incident  to  the 
first  stages  of  this  interesting  study. 

In  my  early  days  with  the  camera,  I 
used  every  possible  means  of  becoming 
proficient  in  manipulating  the  instru- 
ment, and  read  many  voluminous  wri- 
tings on  the  subject ; but  found  no  infor- 
mation which  speedily  brought  me  face 
to  face  with  the  causes  of  my  most 
glaring  defects,  and  at  the  same  time 
suggested  methods  by  which  they  might 
be  prevented. 


9 


io  Preface 

In  order  to  increase  my  stock  of 
knowledge  by  observation  and  associa- 
tion with  others  interested  in  this  line  of 
art,  I joined  several  well-known  photo- 
graphic clubs  and  societies ; but  my 
progress  was  still  so  slow  and  tedious 
that  finally  I determined  to  receive 
practical  instruction  from  one  of  the 
best  commercial  photographers  in  the 
city.  This  course  happily  proved  most 
successful ; the  “ danger  line  ” was  at  last 
passed.  Disappointments  over  ruined 
plates  became  of  less  frequent  occurrence, 
under  and  over  exposures  ceased  to  be  a 
perplexing  problem,  unattractive  posing 
now  seldom  worried  me,  in  short  the 
generally  unsatisfactory  results  of  the 
beginner  soon  changed  to  that  pleas- 
urable contemplation  of  work  achieved 
which,  I think,  is  one  of  the  greatest 
enjoyments  of  those  who  “ know  how.” 

Hence  I strongly  advise  this  latter 


Preface  1 1 

course  to  those  who  would  excel  in 
photography.  The  permanent  advan- 
tage thus  gained  at  the  outset  will 
save  the  amateur  many  trials  and  dis- 
couragements, for  it  is  a grievous  mis- 
take to  think  that  this  accomplishment 
is  of  such  minor  importance,  compared 
with  the  fine  arts,  that  it  may  be  used 
only  as  an  amusement  for  children. 

To  the  skilled  manipulator,  the  camera 
offers  a scope  for  imagination  and  in- 
genuity in  obtaining  picturesque  effects 
which  vie  with  that  of  the  artist  in  oils 
and  water  colors. 

Therefore  one  may  not  hope  to  master 
its  intricacies  in  too  short  a time,  and 
without  labor  and  study.  An  amount  of 
application  and  perseverance,  almost 
equal  to  that  bestowed  upon  the  kindred 
arts  is  necessary  here.  In  this  relation, 
I cannot  refrain  from  protesting  against 
the  aversion  to  the  camera,  frequently  ex- 


12 


Preface 

pressed  by  artists  of  note.  This  preju- 
dice, however,  exists  to  a less  extent  than 
heretofore,  since  many  painters  of  the 
present  day,  either  openly  or  in  secret, 
make  use  of  this  once  despised  instru- 
ment as  an  auxiliary  to  their  work  on 
canvas.  In  making  this  statement  I do 
not  wish  to  be  misunderstood.  The 
artist  uses  the  camera  merely  to  register 
on  paper  an  impression,  hitherto  the 
office  of  the  memory. 

An  amusing  interview  took  place  not 
long  ago  between  a prominent  marine 
artist  and  the  author  of  this  work,  in 
which  the  camera  was  held  as  a cup  of 
poison  in  the  fingers  of  the  painter.  I 
had  suggested  it  to  him  as  a means  of 
preserving  the  appearance  of  ocean 
waves.  The  proposition  was  received 
with  a scornful  refusal,  accompanied  by 
some  harsh  comments  in  reference  to  my 
valued  little  friend,  the  camera.  Several 


*3 


Preface 

months  later,  the  same  artist  called 
upon  me  with  the  request  that  I would 
purchase  a camera  for  him,  and  give 
him  instruction  in  its  use. 

One  should  not  be  disheartened  if  he 
fails  at  first  to  equal  the  work  of  the 
masters  in  this  art — especially  in  the 
matter  of  pictorial  effect.  Persevere, 
labor,  study  nature  in  connection  with  the 
camera,  and,  as  a lasting  reward,  your 
dream  of  success  will  become  a reality, 
your  perplexities  will  gradually  fade 
into  nothingness  and  the  fascinating 
art  of  photography  will  become  one 
of  the  greatest  pleasures  of  your 
life. 

I do  not  wish  to  convey  to  the  reader 
the  impression  that  this  limited  work 
covers  all  the  errors  of  beginners — far 
from  it.  It  is  simply  intended  to  draw 
the  attention  of  the  novice  to  a method 
of  handling  the  camera,  by  which  he 


14  Preface 

will  incur  fewer  disappointments,  and 
obtain  more  satisfactory  results. 


May , 1902. 


C.  M.  T.  Jr. 


CONTENTS 


Author’s  Note  to  Part  I,  - - - 21 

I.  Placing  a Picture,  - - - 31 

II.  The  Use  of  a Head  Rest,  39 

III.  Posing  Single  Figures  and  Groups,  - 45 

IV.  Making  Time  Exposures  when  the  Wind 

is  Blowing,  - - - - 37 

V.  Foreshortening,  - - - 65 

VI.  Pictures  Out  of  Focus,  - - 71 

VII.  When  the  Cap  is  Inadvertently  Held  be- 
fore the  Lens  while  Making  an  Expo- 
sure, - - - - - 8 1 

VIII.  Doubling,  or  Taking  Two  Pictures  on 

One  Plate,  -----  89 

IX.  Halo  or  Ghost,  97 

X.  The  Shadow  of  the  Operator,  - 103 

XI.  Too  Much  Foreground,  - - 109 

XII.  Too  Much  Sky,  - - - 1 15 

XIII.  Holding  the  Camera  Level  While  Focusing,  1 21 

XIV.  Photographing  against  the  Sun. — Returning 

Slide  to  Holder  Edgewise  - -129 

XV.  Over-Exposed  Plates,  - - 137 

*5 


i6  Contents 


XVI.  Under-Exposed  Plates,  - - 147 

XVII.  Pictures  in  which  Perpendicular  Objects 
Lean,  or  Have  the  Appearance  of  Top- 
pling Over,  - - - - 153 

XVIII.  Instantaneous  Exposures,  - - 159 

Don’ts  for  the  Beginner,  - - 165 

Author's  Note  to  Part  II,  - - 17 1 


ILLUSTRATIONS 


It  has  not  been  deemed  necessary  to  include  a List  of 
Illustrations  in  this  volume,  as  the  various  illustrations 
contained  in  Part  I,  and  the  errors  they  represent,  are 
fully  described  in  the  text  matter  accompanying  that  por- 
tion of  the  book.  The  illustrations  in  Part  II  are  what 
may  be  considered  good  specimens  of  correct  photography, 
showing  results  that  any  amateur  can  obtain  by  care  and 
study. 


*7 


PART  I 


Some  Photographic  Errors  and  How 
to  Avoid  Them 


Author’s  Note  to  Part  I 


The  author  takes  it  for  granted  that 
the  amateur  has  received  his  first  lesson 
from  the  dealer  who  provided  his  camera 
and  outfit.  This  lesson  generally  relates 
to  the  manner  of  putting  the  plates  in  the 
plate-holder  and  oral  instructions  as  to 
the  making  of  a picture.  These  brief 
directions  can  be  given  in  the  space  of  an 
hour.  Dealers  also  generally  have  a dark 
room  or  closet  in  their  stores  for  the  con- 
venience of  customers. — In  this  interview 
the  manipulation  of  the  shutter  for  in- 
stantaneous and  time  exposures  is  like- 
wise explained. 

After  this  your  troubles  will  come,  and 
you  will  truly  think : “ How  abject ; 


22 


Author's  Note  to  Part  I 


how  august ; how  complicated,  how  won- 
derful is  ” — the  camera  ! 

It  has  been  stated  as  an  indisputable 
fact  that,  to  be  absolutely  sure  of  a pic- 
ture, glass  plates  are  preferable  to  the  roll 
films,  but  my  experience  would  seem  to 
contradict  this  assertion,  for  I have  car- 
ried hundreds  of  films  during  my  travels, 
which  have  extended  to  many  lands  and 
included  a variety  of  climates.  These 
films  have  been  exposed  under  the  most 
trying  circumstances,  and  the  loss  by 
defective  films  has  not  exceeded  from  two 
to  two  and  a half  per  cent.  There  are 
many  advantages  in  using  the  Kodak 
Roll  Films,  one  of  the  greatest  being  in 
the  changing  of  the  roll,  which  can  be 
accomplished  in  broad  daylight,  without 
the  use  of  the  dark  room.  Exposures  can 
also  be  made  in  quicker  succession  by  the 
Kodak  Roll  Camera,  than  by  those  pro- 
vided with  plate-holders. 


Author's  Note  to  Part  I 


23 


The  chief  difficulty  here  is  in  estima- 
ting by  the  eye  the  correct  distance  in 
feet,  between  the  object  to  be  photo- 
graphed and  the  operator,  and  setting  the 
pointer  at  the  proper  scale.  A miscalcu- 
lation would  throw  the  picture  out  of 
focus  and  produce  a blur  ; practice,  how- 
ever, enables  one  to  overcome  this. 

To  counteract  the  lack  of  experience  on 
the  part  of  the  beginner,  the  Eastman 
Company  has  manufactured  a folding 
camera,  called  the  “ No.  1 Folding  Pocket 
Kodak,”  which  takes  a picture  measuring 
2ix3i  inches — also  one  called  the  “ No.  1 A 
Folding  Pocket  Kodak,”  giving  a negative 
2ix4i  inches.  These  two  cameras  are  of 
universal  focus , hence  require  no  adjust- 
ment on  the  part  of  the  operator.  From 
my  own  experience  I would  recommend 
the  tourist  to  include  one  of  these  in  his 
outfit,  as  they  are  ever  ready  for  instan- 
taneous or  time  exposures.  They  are 


24 


Author's  Note  to  Part  I 


rarely  out  of  order,  and  their  photo- 
graphic qualities  are  most  satisfactory. 

While  on  a recent  journey,  I met  an 
enthusiastic  amateur,  whose  only  camera 
was  a “ No.  3 Folding  Pocket  Kodak.” 

These  cameras  require  proper  focus  to 
be  made  on  each  subject  up  to  one  hun- 
dred feet ; but  regardless  of  this  fact,  or 
of  the  use  of  the  finder,  he  shot  off  his 
shutter  at  random — to  the  right — to  the 
left — before — behind — at  any  and  every- 
thing that  came  his  way,  and  when  snap- 
ping the  shutter  he  would  close  his  eyes, 
pointing  his  camera  in  the  direction  of 
the  subject,  like  an  amateur  marksman 
with  his  rifle.  Imagine  the  results ! 
Then  he  denounced  and  condemned  the 
innocent  little  kodak. 

The  tourist  should  have  his  films,  rolls, 
or  glass  plates  hermetically  sealed  in  tin 
boxes  ; and  after  exposure  they  should  be 
returned  to  the  sealed  tin  boxes.  This  is 


Author's  Note  to  Part  I 


25 


a safeguard  against  the  dampness  and 
variable  climates  of  other  countries,  and 
also  protects  them  from  the  attacks  of 
the  proverbial  and  ill-disposed  “ baggage 
smasher.” 

While  traveling  in  the  interior  of 
Japan,  I lost  fully  two  hundred  and  fifty 
plates  which  had  been  carefully  exposed, 
by  not  observing  this  simple  precaution. 

I would  also  advise  the  traveler  to  be- 
come thoroughly  acquainted  with  his 
camera  and  lens  before  starting  on  his 
journey,  lest  he  repeat  the  disappointing 
experience  of  a celebrated  explorer,  who 
took,  as  he  supposed,  more  than  six  hun- 
dred pictures,  which  should  have  proved 
exceedingly  valuable  as  scientific  studies 
and  other  important  data. 

Upon  developing  the  plates  on  his  re- 
turn home,  not  a trace  of  the  interesting 
subjects  was  visible.  Some  mistake  in 
manipulating  the  shutter  was  responsible 


26 


Author's  Note  to  Part  I 


for  the  irreparable  misfortune.  His  plates 
were  all  blanks. 

Your  dealer  will  always  allow  you 
ample  time  to  test  a camera,  and  it  will 
repay  you  to  embrace  this  opportunity, 
and  not  decide  too  hastily  upon  your 
photographic  outfit.  Above  all,  do  not 
hesitate  to  ask  for  information  regarding 
any  point  upon  which  you  are  in  doubt. 
I once  had  for  a traveling  companion  on 
the  continent,  a man  who  always  main- 
tained that  to  make  inquiries  was  a sure 
sign  of  ignorance.  Be  that  as  it  may,  it 
is  also  the  sure  means  of  lessening  that  ig- 
norance. Since  we  could  never  agree  on 
the  same  course  in  this  matter,  we  were 
compelled  to  part  company. 

A few  days  ago,  a friend  of  mine, 
knowing  I was  compiling  a book  on 
photography  for  the  instruction  of  the 
beginner,  said  laughingly,  “ Why,  Mr. 
Taylor,  I never  had  a camera  in  my 


Author's  Note  to  Part  I 27 

hands  and  have  toured  the  world  several 
times.  I have  the  finest  collection  of 
foreign  pictures  [photographs]  that  any 
one  would  desire  to  possess.  What’s  the 
use  of  all  the  trouble,  expense  and  labor 
of  owning  and  operating  a camera  ? At 
the  best  you  never  succeed  in  having 
more  than  forty  per  cent,  of  your  photo- 
graphic work  turn  out  well  ? ” 

How  could  any  one  live  in  this  age  of 
progress,  love  of  beauty  and  refinement 
with  such  a narrow  mind,  especially  a 
traveler  ? I was  anxious  to  see  his  col- 
lection, so  shortly  made  him  a visit  and 
viewed  his  photographs, — and  what  did 
I find  ? The  same  old  stereotyped,  ever- 
handled,  threadbare  pictures  that  every 
traveler  has  almost  forced  upon  him. 
Look  at  the  photographs  of  this  tourist 
and  compare  them  with  those  of  one’s 
own  taking.  Is  there  any  comparison  as 
regards  interest  and  happy  memories  be- 


28 


Author's  Note  to  Part  I 


tween  the  two?  The  purchased  photo- 
graph is  cold  in  tone  and  feeling,  with- 
out incident  or  association. 

By  all  means  own  your  own  camera ; 
learn  how  to  operate  it  and  have  the 
ready  wit  to  make  your  tour  not  only  a 
success  to  yourself,  but  also  a pleasure  to 
your  friends  upon  your  return  home. 


I 

PLACING  A PICTURE 


I 


PLACING  A PICTURE 

The  beginner  frequently  makes  the 
mistake  of  placing  his  camera  so  close 
to  the  person  or  object  to  be  photo- 
graphed, that  his  subject  will  more  than 
fill  the  plate,  and  the  result  is  sometimes 
a grotesque  appearance — the  head  or  a 
portion  of  the  body  of  the  sitter  being 
cut  off,  or  perhaps  the  best  part  of  a fine 
landscape  being  lost.  Eight  times  out  of 
ten,  the  operator,  upon  beholding  the 
consequences  of  his  error,  will  condemn 
the  camera  as  a poor  one,  or  his  lens  as 
defective. 

This  fault  is  easily  avoided.  Place 
your  camera  at  such  a distance  from 
your  subject  that  the  figures  will  be 

33 


34  Why  my  Photographs  are  Bad 

correctly  proportioned  on  the  plate. 
Uncap  the  lens,  cover  the  camera  with  a 
black  cloth,  and  proceed  to  focus  sharply, 
using  a magnifying  glass  upon  the  ground 
glass . 

Should  the  image  reflected  upon  the 
glass  be  too  large,  move  the  camera  back 
from  the  view  or  sitter,  until  the  desired 
proportions  appear.  If,  on  the  contrary, 
the  picture  is  too  small,  advance  the 
camera  towards  the  subject.  With  judg- 
ment and  practice,  you  will  soon  learn 
to  do  this  instinctively.  Never  strive  to 
obtain  a picture  too  large  for  your  plate. 
Should  you  wish  a photograph  of  greater 
size,  any  photographer  will,  at  a small 
cost,  make  an  enlarged  print  from  your 
small  negative.  You  are  doubtless  aware 
by  this  time  that  all  images  reflected 
upon  the  ground  glass  of  the  camera,  ap- 
pear inverted. 

There  are  lenses  manufactured  known 


Placing  a Picture  35 

and  designated  as  long  and  short  focus, 
wide  angle,  etc.  The  uses  of  the  above 
lenses  are  apparent ; should  one  desire 
to  make  a photograph  of  a landscape 
with  great  depth  of  scenery,  the  long 
focus  lens  should  be  used ; or,  should 
one  wish  to  embody  a great  amount  of 
detail  in  the  limits  of  a negative  plate — 
such  as  large  buildings,  or  the  interior  of 
rooms — the  wide  angle  lens  should  be 
employed.  The  latter  lens  is  also  very 
desirable  for  group  work  in  rooms  of 
limited  dimensions,  as  these  lenses  show 
great  concentration  of  subject. 


II 


THE  USE  OF  A HEAD  REST 


II 


THE  USE  OF  A HEAD  REST 

It  is  annoying  and  expensive  when 
making  a portrait,  especially  if  upon  a 
5x7  or  8x10  negative  plate,  to  find  the 
result  as  that  shown  in  plate  No.  2. 

This  is  caused  by  the  subject's  moving 
while  the  exposure  was  being  made.  To 
avoid  this  difficulty,  procure  a head 
rest  of  your  dealer ; this  can  be  ad- 
justed to  suit  all  the  various  positions  in 
which  you  may  desire  to  place  your  sub- 
ject, as  it  can  be  used  for  either  full 
figure  work  or  sitting  positions. 

Should  your  lens  be  a quick  one,  so  as 
to  enable  you  to  take  instantaneous  ex- 
posures in  the  studio,  then  of  course  it 

would  be  unnecessary  to  use  the  head 

41 


42  Why  my  Photographs  are  Bad 

rest ; otherwise,  if  the  time  for  the 
exposure  of  the  plate  be  four  to  ten 
seconds,  you  will  be  more  sure  of  good 
results  if  you  use  the  rest. 

I grant  that  it  would  be  better  not  to 
use  the  rest  if  the  subject  could  hold 
perfectly  still,  as  in  the  latter  case  the 
position  is  more  natural  and  graceful  than 
where  a rest  is  used  ; but  you  will  find 
it  a very  difficult  matter  to  get  the  sitter 
to  remain  absolutely  still  during  the  re- 
quired time  for  exposure. 


Ill 

POSING  SINGLE  FIGURES  AND 
GROUPS 


Ill 

POSING  SINGLE  FIGURES  AND  GROUPS 

There  are  many  points  to  be  con- 
sidered in  photographing  figures  and 
groups.  First  notice  the  arrangement,  if 
you  would  have  an  artistic  picture. 
Avoid  stiffness  and  straight  lines  in  posing 
your  subject.  Natural  curves  give  grace 
and  beauty. 

When  the  sitter  is  placed  to  your  satis- 
faction, take  your  camera  and  focus 
sharply  the  image  upon  the  ground  glass. 
Focus  upon  the  eye  of  the  person , which 
will  equalize  the  general  effect.  In 
taking  a group,  focus  upon  the  central 
figure . 


47 


48  Why  my  Photographs  are  Bad 

In  arranging  a group,  place  the  figures 
in  a curved  line  ; thus  — 


B 


The  reason  for  this  is  apparent.  The 
figures — A — B — C — are  at  equal  distances 
from  the  lens , and  when  focus  is  made  on 
the  central  figure,  B,  both  A and  C are 
also  in  proportion. 

Avoid  placing  perpendicular  objects, 
such  as  lamps,  tables,  etc.,  (as  in  plate 
No.  3),  in  close  proximity  to  the  per- 
son who  is  to  be  photographed.  These 


Posing  Single  Figures  and  Groups  49 

articles  give  a stiff  character  to  the  pic- 
ture, and  if  they  are  of  small  size,  the 
whole  scene  looks  illy  proportioned. 

Be  careful  not  to  have  your  subject 
too  far  above  or  below  the  level  of  your 
lens.  In  the  first  case  the  effect  would 
be  to  shorten  the  picture,  while  in  the 
latter,  the  images  would  be  lengthened. 
The  best  position  is  a trifle  above  the  level  of 
the  camera . 

Diaphragms  or  Stops 
These  diaphragms  or  stops  are  to  the 
lens  what  the  key-board  is  to  the  piano ; 
to  do  good  work  one  must  study  care- 
fully their  uses.  I have  met  scores  of 
amateurs,  who  own  and  operate  cameras, 
who  have  never  used  these  stops  at  all. 
They  may  have  noticed  that  these  were 
attached  to  their  lenses,  but  overlooked 
their  use  or  considered  them  unim- 
portant. Every  lens,  whether  of  cheap 


5°  Why  my  Photographs  are  Bad 

or  expensive  manufacture,  is  provided 
with  what  are  termed  diaphragms  or 
stops,  the  use  of  which  is  to  increase  or 
diminish  the  amount  of  light  entering 
the  camera  in  order  to  secure  a sharper 
image  upon  the  ground  glass  and  con- 
sequently upon  the  negative.  For  in- 
stance : if  the  day  is  bright  and  sunny 
and  you  wish  to  take  a time  exposure, 
you  may  with  advantage  stop  your  lens 
down  to  Nos.  32  or  64  diaphragm ; but 
should  the  day  be  dark  and  cloudy,  you 
can  increase  the  light  on  your  negative 
by  using  stop  No.  4 or  No.  8.  Do  not 
forget  that  the  higher  the  number  of  the 
stop  or  diaphragm,  the  more  time  you 
must  allow  for  the  exposure  ; hence,  if  you 
allow  an  exposure  of  1-10  of  one  second 
with  No.  16  stop,  1-5  of  one  second  must 
be  given  with  the  No.  32  stop,  1-3  of  one 
second  with  the  No.  64  stop,  and  so  on. 
The  more  closely  you  “ stop  down  ” the 


Posing  Single  Figures  and  Groups  5 1 

lens,  the  sharper  will  be  the  details  in 
your  picture. 

Hundreds  of  tables  have  been  com- 
piled, dozens  of  ideas  expounded,  and 
many  ingenious  devices  made  to  regulate 
the  exposure  of  a negative  plate,  but  all 
are  too  complicated.  I fear  that  so  much 
intricate  calculation  on  the  part  of  the 
bewildered  amateur  would  lead  him 
further  from  the  desired  result  than  a 
simple  rule  which  can  be  followed  in 
most  instances  or  which  can  be  added  to 
as  his  experience  may  suggest. 

For  example,  a 5x4  Rectilinear  or  any 
double  lens  is  usually  about  a six  and  a 
half  inch  focus,  and  the  largest  diaphragm 
has  an  opening  this  size  : 


Actual  size  of  lens 


52  Why  my  Photographs  are  Bad 

Accompanying  this  lens  there  are  seven 
stops  or  diaphragms  in  the  following 
order : 


ACTUAL  SIZES. 


Let  us  presume  your  lens  registers  in 
speed  the  one  hundredth  part  of  a 
second.  I would  then  use  the  following 
table  for  approximate  exposures,  at  least 
until  your  experience  may  lead  you  to  a 
closer  and  more  accurate  division  of 
time. 


Posing  Single  Figures  and  Groups  53 

With  a winter  light— 12  o’clock  noon. 

For  instantaneous  exposures  always  use  a No.  4 or  No.  8 
diaphragm,  never  smaller. 


For  time  exposures, 

with  No.  16  stop,  expose  of  1 second 

it  «< 

ii 

ii  ii  02  “ <*  £ ii  ii  ii 

t<  a 

u 

ii  ii  §4  tt  it  i it  it  ti 

ii  K 

it 

it  u 423  “ (i  2 <i  ii  it 

i<  tt 

ii 

“ “ 256  “ “ 1}  seconds 

If  about  9 A.  M.  or  3 p.  M.,  double  the  time  of  these  ex- 
posures. On  cloudy  days  or  for  pictures  taken  in  shadow, 
multiply  the  above  table  by  ten. 


With  a summer  light— 12  o’clock  noon. 

For  instantaneous  exposures  always  use  a No.  8 or  No.  30 
diaphragm,  never  larger. 


For  time  exposures,  with  No.  16  stop,  expose  ^ of  1 second 


A “ “ 
i ““ 
I “ “ 

i(  it 


32 
64 
128 

256  “ “ f 

If  about  9 A.  M.  or  3 P.  M.,  double  the  time  of  these  ex- 
posures. On  cloudy  days,  or  for  pictures  taken  in  shadow, 
multiply  the  above  table  by  ten. 


Exposures  necessary  to  get  moving  objects  using  no 

DIAPHRAGMS. 

Angle  towards  At  right  angle 
camera  to  camera 


Men  and  animals  walking 

15 

of  1 second 

of  1 second 

Boats  and  water  scenes 

25 

““  “ A 

it  ti  tt 

Children  playing 

5*5 

it  ii  ii  I 

T55 

ti  it  ti 

Cycling  or  horse  trotting, 

ordinary  gait 

T50 

ti  it  ti  i 

255 

tt  it  i< 

54  Why  my  Photographs  are  Bad 

Athletic  9ports,  running, 

jumping,  etc.  Tb  “ “ 44  “ 41  44 

Cycle  or  horse  racing  44  44  4 4 44  44  44 

The  above  is  calculated  for 

a 4x5  camera  at  50  feet  from  the  object 

“ 5x7  M «t  60  44  4 * 4 4 4 4 

44  6£x8£  44  4 4 7 5 4 4 4 4 4 4 4 4 

44  8x10  44  44  100  44  44  44  44 

If  the  object  is  at  a greater  distance 
slower  exposures  can  be  used ; if  nearer 
the  camera,  quicker  exposures  should  be 
given. 

These  tables  are  calculated  upon  your 
using  Eastman's  Films,  Seed’s  “ Gilt 
Edge  Sensitometer  27  ” or  Cramer 
“ Crown  ” plates. 

It  will  not  be  many  weeks  before  you 
have  made  your  own  table  for  both  time 
and  instantaneous  exposures. 


IV 

MAKING  TIME  EXPOSURES  WHEN 
THE  WIND  IS  BLOWING 


IV 


MAKING  TIME  EXPOSURES  WHEN  THE  WIND 
IS  BLOWING 

You  will  be  greatly  disappointed  in 
your  picture,  whether  of  figure,  building 
or  landscape,  if  it  is  a time  exposure 
made  when  the  wind  is  blowing.  In 
illustration  No.  4 you  will  observe  that 
while  the  model  remains  quiet,  her 
hair,  as  well  as  the  fan  and  handkerchief, 
have  been  moved  by  the  wind  ; hence 
the  picture,  correct  in  other  respects, 
such  as  focusing  and  posing,  is  worthless 
as  a specimen  of  good  photography. 

Should  the  making  of  a picture  under 
this  disadvantage  prove  unavoidable, 
open  the  stop  of  your  lens  to  number 
four  or  eight,  and  if  the  light  is  power- 
ful enough,  give  the  plate  an  instantane- 

59 


6o  Why  my  Photographs  are  Bad 

ous  exposure , and  the  result  will  be  satis- 
factory. 

I have  seen  many  curious  effects  of 
exposures  made  under  similar  conditions. 
One  was  the  picture  of  a dog,  whose 
master,  while  coaxing  him  to  be  quiet, 
used  such  caressing  tones  and  expres- 
sions, that  Fido’s  sensitive  spirit  was 
raised  to  the  seventh  heaven  of  beati- 
tude ; and  while  his  body  posed  obedi- 
ently to  his  master's  behest,  his  tail  in- 
voluntarily kept  up  a constant  and 
lively  expression  of  delight.  The  photo- 
graph was  a time  exposure , and  the  con- 
sequence was  a portrait  of  a canine  with 
the  unfurled  tail  of  a full  fledged  pea- 
cock. 

It  is  not  difficult  to  suit  your  class  of 
subjects  to  the  day.  Should  you  desire 
to  make  tbne  exposures,  in  which  trees 
and  forests  are  the  prominent  features, 
then  select  the  day  that  is  calm  and 


Making  Time  Exposures  61 

mild ; but,  if  the  scenes  are  at  the  sea- 
shore, and  your  subject  is  a yacht  at  full 
speed,  it  adds  to  the  effect  to  have  the 
wind  at  its  best,  and  for  this  picture  an 
instantaneous  exposure  must  be  made. 


V 


FORESHORTENING 


V 


FORESHORTENING 

Most  beginners  quite  overlook  the  im- 
portance of  perspective  in  the  relative  po- 
sitions of  the  lens  and  the  subject.  To 
illustrate  this  point,  suppose  a post  placed 
twenty  feet  from  the  camera,  and  another 
but  ten  feet  from  it.  The  post  which  is 
ten  feet  distant  will  naturally  appear 
much  larger  on  the  glass  plate  of  the 
camera  than  the  one  which  is  twenty  feet 
away.  So  it  is  when  a subject  is  seated 
upon  a chair,  with  hands  and  feet  ex- 
tended towards  the  camera.  Those  mem- 
bers will  naturally  be  reflected  as  larger 
in  proportion  to  the  rest  of  the  body  ; and 
in  the  finished  picture  will  displease  the 
eye  by  their  exaggerated  size,  as  in  plate 

67 


68  Why  my  Photographs  are  Bad 

No.  5.  A.  This  error  is  frequently  made 
in  photographing  animals,  when  the  head 
is  generally  made  too  prominent,  and  ap- 
parently magnified.  This  is  illustrated 
in  plate  No.  5 B.  It  does  not  appear  in 
such  a pronounced  form  in  landscape 
work,  although  equally  noticeable  to  the 
observing  eye. 

Should  the  subject  be  a figure,  it  is  well 
to  place  the  camera  slightly  to  the  side 
of  the  sitter,  thus  equalizing  the  propor- 
tion of  distance.  This  can  also  be  done 
to  advantage  in  photographing  animals, 
etc. 

Study  to  use  the  most  artistic  and  pic- 
turesque effects.  It  will  take  more  time, 
but  in  the  end  your  labors  will  be  well 
rewarded. 


VI 

PICTURES  OUT  OF  FOCUS 


— 


A. 

- y*‘ 


VI 


PICTURES  OUT  OF  FOCUS 

This  effect  is  most  commonly  the  result 
of  carelessness  in  the  use  of  the  focusing 
scale  of  feet  placed  upon  closed  cameras 
provided  with  roll  films,  as  kodaks. 
These  instruments  are  without  the  focus- 
ing ground  glass.  As  an  illustration  of 
this  fact,  suppose  you  have  purchased  a 
No.  5 Cartridge  Kodak  with  a roll  of  films. 
Now  the  distance  between  your  subject 
and  the  lens,  if  less  than  a hundred  feet 
away,  must  be  measured.  If  the  object 
to  be  photographed  is  ten  feet  distant,  and 
the  pointer  on  the  focusing  scale  marks 
twenty  feet,  the  result  will  be  a negative 
such  as  that  from  which  Plate  No.  6 is 

printed.  Cameras  are  generally  of  uni- 

73 


74  Why  my  Photographs  are  Bad 

versa!  focus  for  distances  greater  than  a 
hundred  feet  In  using  this  instrument, 
calculate  as  closely  as  possible,  the  dis- 
tance in  feet  between  your  subject  and 
the  lens;  then  set  the  pointer  to  corre- 
spond with  this  number  upon  the  focusing 
scale.  I have  known  an  amateur  to  have 
more  than  thirty  exposures  turn  out 
total  failures,  because  she  neglected  to 
take  advantage  of  this  assistance  in  focus- 
ing. Again  I have  known  several  in- 
stances of  amateurs  not  using  the  focusing 
rack  at  all  ; not  because  they  forgot  to 
focus,  but  because  they  did  not  know  that 
it  was  necessary.  I would,  however,  ad- 
vise the  beginner  to  use  a camera  pro- 
vided with  the  ground  glass,  until  his 
eyes  become  accustomed  to  judging  dis- 
tances and  focusing  correctly. 

To  gain  experience  in  this  line,  it 
would  be  well  to  measure  off  distances  of 
six,  ten,  fifteen,  twenty-five,  fifty,  seventy- 


75 


Pictures  Out  of  Focus 

five,  and  a hundred  feet  respectively,  and 
impress  their  relative  appearances  upon 
the  mind. 

This  practice  will  prove  very  helpful  in 
many  photographic  emergencies. 

If  the  view  to  be  portrayed  is — say  a 
ravine,  perhaps  a mile  or  more  in  depth, 
you  should  focus  upon  some  object  in  the 
centre  of  the  landscape.  Close  your  lens 
down  to  a No.  16  or  No.  32  stop,  and  you 
will  secure  the  extreme  as  well  as  the 
middle  distance  in  sharp  outline. 

Again  let  me  strongly  recommend  to 
the  novice  a camera  provided  with  a 
ground  glass  plate,  for  his  studies  of  dis- 
tances and  effects.  He  should  become 
familiar  with  this  before  he  branches  out 
into  the  uncertainty  of  space,  and  depends 
wholly  for  his  information  as  to  the  cor- 
rectness of  impressions  upon  the  small 
view  finder  at  the  side  of  the  kodak. 

A good  and  reliable  plate  for  time  ex- 


76  Why  my  Photographs  are  Bad 

posures  and  landscape  work  is  the  “ Car- 
butt  B,”  or  any  first-class  slow  plate  of 
slow  sensitometer.  You  will  obtain  bet- 
ter results  with  it  than  with  the  more 
highly  sensitized  plates,  as  it  is  not  so 
likely  to  be  ruined  by  an  over  exposure 
of  a second  or  two. 

On  the  other  hand,  should  you  wish  to 
make  a very  short  exposure,  as  in  captur- 
ing a passing  train,  a waterfall  at  the 
supreme  moment,  horses  or  persons  in 
swift  motion,  the  “ Cramer  Crown  ” and 
“ Seeds  * Gilt  Edge  , Sensitometer  27  ” 
plates  have  a world-wide  reputation  for 
speed  and  unvarying  excellence. 

The  majority  of  professional  photog- 
raphers use  the  highly  sensitized  plates  for 
all  kinds  of  work,  including  both  time 
and  instantaneous  pictures.  But  great 
caution  is  necessary  in  manipulating 
these  rapid  plates,  for  either  under  or 
over  exposure  will  result  in  a negative  of 


Pictures  Out  of  Focus  77 

unsatisfactory  quality.  A little  practice, 
however,  will  enable  one  to  secure  the 
desired  effect. 

When  photographing  in  a new  coun- 
try, it  is  well  to  test  the  strength  of  light 
and  atmosphere  by  making  several  ex- 
posures of  different  lengths , until  the  cor- 
rect period  is  obtained.  This  is  fre- 
quently done  by  the  professionals. 


VII 

WHEN  THE  CAP  IS  INADVERT- 
ENTLY HELD  BEFORE  THE 
LENS,  WHILE  MAKING  AN  EX- 
POSURE 


VII 

WHEN  THE  CAP  IS  INADVERTENTLY  HELD 
BEFORE  THE  LENS,  WHILE  MAKING  AN 
EXPOSURE 

With  all  efforts  to  be  careful,  the 
most  zealous  student  will  sometimes 
make  the  mistake,  while  uncapping,  of 
holding  the  cap  within  the  range  of  the 
lens.  The  result  is  a dark  shadow  which 
completely  veils  the  whole  or  a portion 
of  his  picture,  as  in  illustration  No.  7. 
It  is  well,  when  uncapping,  to  draw 
the  cap  quickly  down  below  the  lens — 
thus  avoiding  the  chance  of  such  an 
accident : but  it  is  better  still  to  have  a 
shutter  placed  over  the  lens,  which  can 

be  done  at  a reasonable  cost,  and  thus 

*3 


84  Why  my  Photographs  are  Bad 

leave  the  mind  free  from  the  necessity  of 
this  precaution. 

The  same  dark  shadow  is  also  pro- 
duced by  inadvertently  allowing  the 
focusing  cloth  to  dip  or  fall  over  the  lens 
after  the  cap  has  been  removed.  Many 
otherwise  fine  pictures  have  been  ruined 
by  thoughtlessness  like  this. 

Whilst  upon  the  subject  of  uncapping 
the  lens,  I would  mention  another 
thoughtless  error  that  I have  sometimes 
seen  made.  I have  been  with  amateurs 
who  have  focused  the  picture,  replaced 
the  cap  upon  the  lens,  drawn  the  slide 
from  the  plate-holder,  timed  the  ex- 
posure, returned  the  slide  to  the  plate- 
holder,  and  in  their  anxiety  to  obtain 
a very  beautiful  result  have  entirely 
forgotten  to  uncap  the  lens.  In  most  of 
these  instances  I have  noted  the  error, 
remained  quiet,  and  informed  the  opera- 
tor only  when  the  plate  was  being  de- 


Cap  Inadvertently  Held  85 

veloped.  This  was  done  on  my  part  to 
more  thoroughly  impress  the  error  on 
the  mind  of  the  operator. 


VIII 

DOUBLING,  OR  TAKING  TWO  PIC- 
TURES ON  ONE  PLATE 


VIII 


DOUBLING,  OR  TAKING  TWO  PICTURES  ON 
ONE  PLATE 

The  amateur  who  has  not  experienced 
this  ludicrous  effect  of  his  carelessness 
will,  perhaps,  not  appreciate  the  present 
chapter. 

Think  of  having  spent  several  hours 
tramping  over  hill  and  dale,  and  focus- 
ing carefully  some  charming  prospects, 
only  to  discover  when  the  plates  are  de- 
veloped, that  two  lovely  but  distinctly 
unlike  pictures  appear,  to  the  utter 
destruction  of  each  other,  upon  one 
negative.  Your  time  and  labor,  as  well 
as  your  plates,  in  such  cases,  have  been 

wasted.  Yet  this  is  not  an  uncommon  oc- 

91 


92  Why  my  Photographs  are  Bad 

currence,  even  among  professionals.  To 
avoid  it,  number  your  plate-holders  con- 
secutively, from  one  upwards,  and  place 
them  in  their  respective  order  when 
loading  your  box.  When  you  expose 
these  plates,  always  begin  at  the  lowest 
number,  and  immediately  after  the  ex- 
posure is  made,  jot  it  down  in  a handy 
memorandum  book. 

Another  excellent  plan  is  to  have 
marked  upon  the  rim  of  the  slide — (not 
upon  the  body  of  the  slide,  as  a white 
painted  letter  would  retain  enough  light 
to  cause  an  imprint  upon  the  negative) — 
the  word  “ Exposed.”  By  this  means, 
the  holders  which,  when  loaded,  have 
the  black  edge  in  view,  after  they  have 
been  exposed  will  make  the  fact  apparent 
by  the  painted  word. 

Should  you  use  a roll  film,  do  not 
fail  to  turn  the  spool  immediately  after 
taking  a picture . Make  this  your  ab- 


Taking  Two  Pictures  93 

solute  custom  on  all  occasions,  and  you 
will  escape  the  disappointing  experi- 
ences illustrated  by  plate  No.  8. 


« 


IX 


HALO  OR  GHOST 


- 


IX 


HALO  OR  GHOST 

This  appearance  is  not  of  frequent  oc- 
currence, and  is  peculiar  to  the  work  of 
amateurs  and  beginners.  It  is  caused  by 
light,  either  reflected  or  direct,  falling 
upon  the  lens  of  the  camera.  Some- 
times, after  all  your  precautions,  this 
ghost,  as  it  is  called,  will  steal  in  and  rob 
you  of  a perfect  picture. 

Inspect  carefully  all  conditions  before 
uncapping,  and  make  sure  that  no  light, 
direct  or  reflected,  falls  upon  the  lens. 
Sometimes  the  sun  shining  upon  a 
window  pane  will  cast  a reflection  upon 
the  lens  and  evolve  the  ghost. 


99 


X 


THE  SHADOW  OF  THE  OPERATOR 


X 


THE  SHADOW  OF  THE  OPERATOR 

The  appearance  of  this  upon  the  nega- 
tive would  be  impossible  if  the  picture 
were  made  at  noon  or  thereabouts,  when 
the  sun  is  overhead ; but  it  must  be 
guarded  against  when  the  rays  of  light 
are  slanting,  and  objects  cast  long  streaks 
of  shadow.  I have  seen  many  valuable 
studies  spoiled  by  neglecting  these 
principles.  The  operator  generally  be- 
comes so  engrossed  in  his  work,  that  he 
forgets  to  consider  the  position  of  his 
double.  Should  his  shadow  not  come 
within  the  limits  of  the  picture  to  be 
taken,  it  would  not  interfere  with  the 
success  of  his  photograph  : but  when  it 
encroaches  upon  the  view  he  is  about  to 

105 


io6  Why  my  Photographs  are  Bad 

represent,  as  in  plate  No.  10,  the  picture 
is  spoiled. 

To  prevent  the  presence  of  this  in- 
truder, make  your  exposures  about  the 
time  of  the  sun's  meridian,  or  place  your 
camera  at  the  side  of  the  subject,  or  in- 
crease the  distance  between  the  camera 
and  the  object  to  be  photographed. 

It  is  to  be  remembered  that,  should 
you  make  your  exposures  about  the  time 
of  the  sun's  meridian,  your  results  will 
be  more  flat  and  lifeless  than  if  made  at 
another  time  of  the  day,  either  before  or 
after  the  noon  hour. 

It  is  desirable  to  have  your  subject 
well  lighted  and  well  modeled  in  shade ; 
this  gives  character  and  effect  to  the  pic- 
ture. It  is  very  monotonous  to  the  eye 
to  view  a landscape  flat  in  color  and  void 
of  contrast  as  regards  effects  in  light  and 
shade. 


XI 


TOO  MUCH  FOREGROUND 


XI 


TOO  MUCH  FOREGROUND 

This  cannot  be  called  a very  serious 
defect  in  a picture,  but  it  is  inartistic, 
and  objectionable  from  the  fact  that  too 
much  unattractive  material  is  included 
in  the  prospect.  It  may  be  said  that  the 
superfluous  foreground  can  be  cut  off — 
and  that  is  true — but  the  picture  would 
be  reduced,  and  you  would  thereby  lose 
an  effect  you  might  otherwise  attain. 
Many  things  are  to  be  considered  in  pro- 
portioning the  foreground.  Of  course 
the  horizon  must  not  divide  the  picture 
into  two  equal  parts.  It  may  appear 
either  above  or  below  the  middle  of  your 
view.  This  depends  wholly  upon  your 
subject.  But  the  appearance  of  too  much 

hi 


1 1 2 Why  my  Photographs  are  Bad 

foreground  in  any  study,  unless  it  be 
the  ascent  of  a mountain  or  roadway,  of- 
fends the  critic’s  eye — hence  it  should  be 
avoided. 


XII 


TOO  MUCH  SKY 


XII 


TOO  MUCH  SKY 

The  artist  would  say  of  such  a pic- 
ture as  appears  in  illustration  No.  12, 
“ There  is  too  much  canvas  1 to  let  ’ 
here.”  This  fault  is  just  as  objectionable 
as  a disproportionate  amount  of  fore- 
ground. There  are,  it  is  true,  many  pic- 
tures in  which  exquisite  cloud  effects 
charm  the  beholder.  The  words  “ too 
much  ” cannot  be  applied  to  these  faith- 
ful portrayals  by  an  appreciative  and 
skilful  photographer.  You  will  learn 
to  judge,  after  many  trials,  of  the  pro- 
portions to  be  included  in  a landscape 
that  will  give  it  the  most  artistic  value 
and  effect.  Experience  and  observation 

will  be  your  teachers. 

M7 


1 1 8 Why  my  Photographs  are  Bad 

In  looking  through  the  album  of  an 
amateur  a short  time  ago,  I perceived 
that,  in  the  majority  of  the  photographs, 
three-fourths  of  the  picture  was  occupied 
by  sky,  while  the  subject  looked  quite 
insignificant  in  the  remaining  space. 

Study  nature  in  her  every-day  dress,  as 
well  as  in  her  most  enchanting  appear- 
ances. Know  why  a certain  scene  makes 
an  attractive  picture,  and  you  will  soon 
become  so  critical  that  you  will  allow  no 
undue  proportions  to  enter  your  pictures. 


XIII 


HOLDING  THE  CAMERA  LEVEL 
WHILE  FOCUSING 


XIII 

HOLDING  THE  CAMERA  LEVEL  WHILE  FO- 
CUSING 

Pictures  like  that  shown  in  illustra- 
tion No.  13  are  quite  common  with  the 
beginner ; they  are  not  the  result  of  in- 
correct focusing,  but  of  sheer  carelessness 
in  regard  to  the  position  of  the  camera. 
I have  known  amateurs  to  overcome  all 
the  early  difficulties  in  photography,  and 
yet  to  fail  repeatedly  in  their  pictures, 
because  they  forgot  to  make  sure  that  the 
camera  was  perfectly  level  while  focusing. 
Many  operators  use  a small  camera  level 
glass,  which  can  be  placed  permanently 

123 


1 24  Why  my  Photographs  are  Bad 

on  the  side  of  the  instrument ; but  this 
is  not  necessary  if  proper  care  is  given  to 
the  position  of  the  camera. 

There  are,  on  the  other  hand,  beginners 
who  are  so  anxious  to  have  a “ straight 
picture,1 ” that  they  lose  sight  of  the  char- 
acter of  their  subject,  and  in  their  per- 
sistent but  mistaken  efforts  to  have  things 
level,  present  many  odd  and  untruthful 
effects,  such  as  losing  sight  of  the  true 
horizon,  and  making  their  hills  and  as- 
cending roads  appear  on  the  level.  I 
have  in  mind  an  example  of  this  kind  of 
work.  It  is  a photograph  of  a man 
standing  upon  a wharf,  while  the  water 
in  the  background  runs  uphill,  when  in 
truth  it  should  be  perfectly  level.  You 
can  imagine  the  ridiculous  effect  of  such 
a scene.  I would  suggest  an  easy  and 
simple  remedy.  Take  a lead  pencil  and 
draw  upon  the  ground  glass  of  the  camera 


Holding  the  Camera  Level  125 

a true  horizontal  and  a true  perpendicular 

line.  Thus — 


This  will  materially  aid  the  eye  of  the 
operator  in  his  work,  and  secure  abso- 
lutely correct  lines  in  his  results. 


XIV 


PHOTOGRAPHING  AGAINST  THE 
SUN.— RETURNING  SLIDE  TO 
HOLDER  EDGEWISE 


c 


XIV 


PHOTOGRAPHING  AGAINST  THE  SUN 

The  beginner  frequently  makes  the 
mistake  of  photographing  against  the  sun 
— that  is  placing  the  lens  in  such  a posi- 
tion as  to  receive,  either  directly  or  indi- 
rectly, the  rays  of  the  sun  while  exposure 
is  being  made.  This  produces  a cloudy 
effect  and  spoils  the  picture,  as  shown  in 
plate  No.  14.  Protect  the  lens  by  having 
the  sun  at  the  back  of  the  camera,  or  on 
one  side  of  it  while  photographing,  the 
latter  position  being  preferable.  If  it  is 
absolutely  necessary  to  face  the  sun , shade 
the  lem  from  above  by  your  hand  or  hat.  I 

have  seen  amateurs  recklessly  disregard 

*3* 


132  Why  my  Photographs  are  Bad 

this  rule — and  in  consequence  produce 
worthless  pictures. 

Returning  Slide  to  Holder  Edgewise 

When  replacing  the  slide  in  the  plate- 
holder  after  exposure  has  been  made,  be 
careful  to  put  it  in  squarely , — not  first  insert- 
ing the  edge  of  the  slide.  The  reason  for 
this  is  obvious.  The  plate-holder  is  made 
with  a small  spring  or  door,  as  it  were, 
which  closes  quickly,  when  the  slide  is 
withdrawn,  and  fills  the  space  allowed 
for  it;  thus  you  can  readily  see  that  if 
you  insert  the  edge  of  the  slide  first,  in 
returning  it  to  the  holder,  the  door  or 
spring  is  opened  and  light  admitted, 
thereby  fogging  or  streaking  the  plate,  as 
in  the  illustration. 

It  would  not  matter  so  much  were  the 
slide  not  squarely  inserted  in  the  holder, 
if  the  camera  was  completely  covered  by 
the  focusing  cloth ; but  in  forming  a 


Photographing  Against  the  Sun  133 

habit  for  correct  working  it  is  well  to 
practice  the  safe  and  careful  way.  You 
will  thus  avoid  possible  error  and  insure 
the  most  desirable  results. 


XV 


OVER-EXPOSED  PLATES 


XV 


OVER-EXPOSED  PLATES 

The  correct  time  for  exposing  a nega- 
tive plate  for  both  indoor  and  outdoor 
work  has  been  one  of  the  greatest  stum- 
bling blocks  to  the  amateur.  Scores  of 
times  have  I been  asked  : “ How  do  you 
determine  the  proper  time  of  exposure 
to  make  a successful  picture?  ” 

A number  of  booklets  have  been  issued 
by  makers  of  cameras  and  others,  setting 
forth  the  exact  period  required,  for  the  ex- 
posures of  plates  under  every  imaginable 
condition  of  light  and  shade,  for  both 
landscapes  and  interiors ; but  these 
pamphlets  frequently  prove  very  con- 
fusing. The  best  instructor  is  your  own 
judgment  combined  with  experience. 

>39 


140  Why  my  Photographs  are  Bad 

In  my  early  days  with  the  camera,  I 
frequently  experimented  in  exposing  my 
plates  and  made  a multitude  of  notes  on 
this  important  subject.  Now,  however, 
the  correct  exposure  under  the  various 
conditions  of  light  is  an  instinctive 
knowledge,  and  I time  my  exposures 
much  as  the  expert  “ off  hand  shot  ” 
with  rifle  or  pistol  fires  at  the  mark 
without  appearing  to  take  aim. 

As  his  grasp  of  his  gun  decides  the 
deadly  aim  of  the  trapper,  so  to  the  ex- 
perienced photographer,  the  period  of 
time  is  not  a calculation,  but  an  instan- 
taneous conclusion  acquired  by  long 
practice.  In  my  experience  one  of  the 
surest  guides  on  this  point  has  been  the 
ground  glass  of  my  camera.  Regulate 
the  diaphragm  or  stop  in  your  lens,  and 
when  the  subject  to  be  photographed  is 
reflected  on  the  ground  glass,  note  care- 
fully the  degree  of  light  and  the  time  of 


i4i 


Over-Exposed  Plates 

exposure,  and  make  a memorandum  of 
the  same  for  future  reference.  Thus  you 
will  gradually  learn  to  compare  and 
judge  of  the  respective  times  of  exposure 
demanded  by  the  different  degrees  of 
light. 

Suppose,  for  example,  you  make  your 
first  experiment  by  placing  in  the  holder 
a “ Seeds  ‘ Gilt  Edge  ’ No.  27  ” Sensito- 
meter  plate. 

This  plate  is  capable  of  very  quick 
exposure,  your  lens  is  of  moderate  speed, 
the  subject  to  be  photographed  is  a land- 
scape, and  the  day  is  clear  and  sunny. 
Focus  carefully  with  a magnifying  glass , 
place  the  stop  No.  16  in  the  lens,  note 
the  light  on  the  ground  glass,  and  re- 
member the  degree  of  intensity.  Give 
the  plate  an  exposure  of  one-half  second . 

Make  another  exposure  of  one  second , 
under  the  same  conditions , then  another  one 
of  one  and  one-half  seconds. 


142  Why  my  Photographs  are  Bad 

It  would  also  answer  the  same  pur- 
pose, but  be  decidedly  more  economical 
to  use  but  one  plate  for  this  experiment, 
drawing  out  the  slide  covering  the  nega- 
tive plate  only  a third  of  the  way  and 
giving  this  portion  an  exposure  of  one- 
half  second.  Then  draw  the  slide  out 
another  third  of  its  distance  and  expose 
one-half  second,  thus  giving  an  exposure 
of  one  second  to  the  first  portion  of  the 
plate  uncovered.  Finally  remove  the 
slide  altogether  and  expose  another  half 
second  ; you  will  thus  have  secured  an  ex- 
posure of  one  and  one-half  second  for  the 
first  third  of  the  plate,  an  exposure  of  one 
second  for  the  second  third  of  the  plate, 
and  an  exposure  of  but  one-half  second 
for  the  third  of  the  plate.  All  this  of 
course  must  be  very  carefully  done  or 
your  experiment  will  be  a failure. 

The  table  given  on  page  53  may  also 
be  of  service  to  the  beginner. 


H3 


Over-Exposed  Plates 

You  now  have  three  exposures  under 
the  same  conditions.  Develop  them 
carefully,  and  should  the  negative  or 
that  portion  of  it  which  has  been  given 
three  seconds  appear  as  plate  No.  15, 
you  will  draw  the  conclusion  that  it  has 
been  over-exposed.  The  various  objects 
in  the  picture  will  be  well  defined,  as  are 
the  trees,  bridge,  etc.,  in  the  accompany- 
ing plate,  and  quite  sharp  when  viewed 
through  a magnifying  glass,  although 
the  whole  picture  will  have  a dull  and 
hazy  effect. 

Of  the  two  evils,  over  or  under  ex- 
posure, the  former  is  to  be  preferred,  for 
in  that  case  you  can  restrain  the  strength 
of  the  developer  and  save  the  good  qual- 
ities of  the  negative,  but  if  under-ex- 
posed, there  is  not  much  hope  for  the 
picture. 

I am  fully  cognizant  of  the  fact  that 
there  are  many  formulas  both  for  the  in- 


144  Why  my  Photographs  are  Bad 

tensification  of  under-exposed  plates  and 
for  the  reduction  of  those  over  exposed, 
but  I claim  that  it  is  far  better  to  learn 
the  correct  exposure  and  thus  secure 
more  uniformly  satisfactory  results  both 
in  finish  and  in  the  harmony  of  light  and 
shade  in  the  negative. 


XVI 


UNDER-EXPOSED  PLATES 


XVI 


UNDER-EXPOSED  PLATES 

As  a process  of  education,  it  is  well  to 
look  upon  a picture  which  has  the  fault 
opposite  to  the  one  just  considered.  In 
the  under-exposed  photograph  shown  in 
illustration  No.  16  you  will  observe 
that  the  details  are  not  sharply  defined 
as  in  the  one  printed  from  the  over- 
exposed plate. 

An  under-timed  picture  has  the  ap- 
pearance of  fog — it  has  what  is  called  a 
“ measly  look.”  This  effect  is  more  diffi- 
cult to  counteract  than  that  of  over- 
exposure ; and  even  when  every  means  to 
improve  the  picture  has  been  used  it  is 
not  satisfactory. 

The  amateur  should  strive  to  learn  the 

149 


15°  Why  my  Photographs  are  Bad 

method  of  correct  exposure,  and  practice 
it.  Haphazard  manipulation  may  suc- 
ceed in  some  lines  of  work,  but  it  is 
rarely  successful  in  photography. 


XVII 


PICTURES  IN  WHICH  PERPEN- 
DICULAR OBJECTS  LEAN,  OR 
HAVE  THE  APPEARANCE  OF 
TOPPLING  OVER 


XVII 


PICTURES  IN  WHICH  PERPENDICULAR  OB- 
JECTS LEAN,  OR  HAVE  THE  APPEARANCE 
OF  TOPPLING  OVER 

This  is  one  of  the  most  exasperating 
results  that  can  come  to  the  amateur 
photographer.  Often  the  picture  is  cor- 
rect in  every  other  respect ; the  focus  is 
good,  the  exposure  is  right,  and  the 
development  is  satisfactory.  Why  then, 
after  all,  is  the  picture  so  disappointing  ? 
Why  do  the  trees,  buildings,  fences  and 
other  perpendicular  objects  lean  as  if 
about  to  fall  to  the  earth  ? This  is  the 
fault  shown  in  illustration  No.  17. 

It  is  caused  by  wrong  perspective,  and 
any  lens  will  show  it  regardless  of  the 

price — the  wide  angle  lens  even  more 
!55 


156  Why  my  Photographs  are  Bad 

than  others.  Any  photograph  of  a high 
building,  when  taken  from  the  ground, 
will  show  this  defect  in  the  result,  no 
matter  what  lens  is  used,  unless  the 
camera  has  a swing  back  which  enables 
the  photographer  to  adjust  the  ground 
glass  to  a vertical  position.  By  examin- 
ing the  image  in  this  vertical  position  it 
will  be  noticed  that  the  image  is  correctly 
portrayed,  and  when  the  plate  holder  is 
adjusted  in  the  same  vertical  position  the 
exposure  will  produce  the  picture  in  cor- 
rect perspective.  This  shows  the  neces- 
sity of  using  a swing  back  to  avoid  this 
fault  which  cannot  otherwise  be  elimi- 
nated with  the  hand  camera  that  does 
not  have  the  swing  back. 


XVIII 


INSTANTANEOUS  EXPOSURES 


XVIII 


INSTANTANEOUS  EXPOSURES 

Truly  instantaneous  photography  is 
one  of  the  most  difficult  branches  of  the 
art  of  picture  taking.  It  requires  not  only 
a quick  eye,  but  good,  as  well  as  swift 
judgment,  keen  perception  and  a 
thorough  knowledge  of  the  details  of 
photography.  To  these  qualities  should 
be  added  coolness  and  deliberation 
enough  to  snap  the  shutter  at  the  proper 
moment — or  rather  fractional  part  of  a 
second  in  most  cases.  You  should  be 
neither  too  slow  nor  too  fast,  or  you  will 
lose  the  peculiar  effect  you  desire  to  cap- 
ture. 

An  enthusiastic  amateur  attempted  to 
make  an  instantaneous  photograph  of  a 

161 


162  Why  my  Photographs  are  Bad 

locomotive  and  train  of  cars,  which  were 
tearing  along  at  the  rate  of  a mile  a 
minute.  He  snapped  the  shutter,  as  he 
supposed,  at  the  moment  the  train  was 
passing ; but  the  plate,  when  developed, 
revealed  only  a bare  track,  with  no  trace 
of  “ the  living  engine  and  its  tail.” 

In  illustration  No.  18  A.,  the  yacht 
had  passed  the  point  which  would  have 
placed  it  in  the  centre  of  the  plate, 
before  the  shutter  was  snapped — thus 
rendering  the  representation  incomplete. 
But  for  this  slowness  on  the  part  of  the 
operator,  the  picture  would  have  been 
good  in  all  its  details. 

Do  not  stand  too  close  to  the  scene  or 
object  to  be  photographed.  For  instance, 
if  you  wish  to  make  a picture  of  a train 
of  cars  at  full  speed,  take  a position 
fully  a hundred  and  fifty  feet  distant, 
and  make  your  exposure  at  an  oblique 
angle,  say  forty-five  to  ninety  degrees, 


Instantaneous  Exposures  163 

with  the  moving  train  coming  towards 
you.  The  distance  scale  of  your  camera 
should  be  set  at  one  hundred  feet  or  the 
universal  focus.  Contemplate  the  ap- 
proaching train  with  calmness,  and  when 
it  appears  in  full  view  upon  the  centre  of 
your  camera  finder,  snap  the  shutter. 
Hold  the  camera  firmly,  and  do  not  hes- 
itate or  delay  action  for  even  the  hun- 
dredth part  of  a second. 

To  obtain  the  best  results  in  this  class 
of  work,  patience  and  experience  are 
necessary.  For  objects  which  move  more 
slowly,  such  as  pedestrians,  or  horses  and 
carriages  going  at  ordinary  speed,  etc., 
see  table  on  page  53. 

Should  the  object  taken  move  faster 
than  the  speed  of  the  camera  shutter  the 
result  on  the  negative  will  be  as  shown  in 
illustration  No.  18  B.  The  speed  of  the 
shutter  must  exceed  the  speed  of  the  sub- 
ject photographed. 


164  Why  my  Photographs  are  Bad 

Study  the  best  effects,  even  in  instan- 
taneous work  : if  it  appears  that  the  engi- 
neer of  the  passing  train  is  about  to  blow 
his  whistle,  or  make  a signal,  wait  as  long 
as  you  can  for  the  more  artistic  picture.  If 
the  subject  is  a carriage  in  motion,  choose 
the  point  of  view  which  presents  the 
most  attractive  background.  All  these 
details  should  be  considered  and  with 
care  can  be  made  to  count  in  the  finished 
work. 

Many  amateurs  seem  to  desire  only 
instantaneous  work,  because  there  is 
more  excitement  in  it ; yet  in  most  cases 
this  very  excitement  is  the  cause  of  the 
failure  to  make  a good  picture. 

Perseverance  and  vigilance  will  finally 
overcome  all  difficulties,  and  he  who  has 
patience  to  continue  in  this  work,  will 
find  himself  amply  rewarded. 


Don’ts  for  the  Beginner 

Don't — Photograph  against  the  sun. 

Don't — Pose  a group  in  the  sun,  if  a 
shaded  spot  is  accessible. 

Don't — Be  in  a hurry — Take  time. 

Don't — Become  excited — Keep  cool. 

Don't — Draw  a slide  from  the  holder, 
or  return  one  to  it,  unless  the  holder  is 
covered  by  a focusing  cloth. 

Don't — Stop  your  lens  down  too  much 
on  dark  and  cloudy  days. 

Don't — Purchase  second-hand  cameras 
when  new  ones  can  be  obtained  almost  as 
cheaply. 

Don't — Purchase  a camera  or  lens  un- 
less the  dealer  allows  you  ample  oppor- 
tunity for  testing  the  same. 

Don't — Make  two  exposures  on  one 
plate. 

*6  5 


166  Why  my  Photographs  are  Bad 

Don’t — Leave  your  plate-holder  or  lens 
exposed  to  bright  sunlight ; it  warps  the 
one  and  injures  the  other ; also  fogs  the 
negative. 

Don’t — Receive  instruction  from  any 
one  who  cannot  give  authentic  infor- 
mation. 

Don’t — Take  films  or  plates  on  the 
ocean,  or  into  damp  climates,  unless  pro- 
tected by  tin  boxes,  hermetically  sealed. 

Don’t — Be  discouraged  over  failures. 

Don’t — Believe  all  you  hear  about  pho- 
tography, but  rely  on  your  own  judg- 
ment and  experience. 

Don’t — Think  that  the  best  results  are 
only  chance. 

Don’t — Take  a subject  unless  the  pose 
or  view  is  carefully  studied  as  to  the  best 
effect. 

Don’t — Forget  your  red  lamp  when 
packing  your  camera  outfit  for  photo- 
graphic tours. 


Dont’s  for  the  Beginner  167 

Don’t — Forget  to  dust  glass  plates  be- 
fore placing  in  plate-holder ; otherwise 
the  negative  is  likely  to  show  “ dust 
spots.” 

Don’t — Keep  photographic  films  or 
plates  in  a damp  place. 

Don’t — Forget  to  purchase  films  or 
plates  of  one  emulsion  when  possible. 

Don’t — Breathe  when  photographing, 
if  the  camera  rests  against  your  body,  as 
you  might  thus  move  it  out  of  position. 

Don’t — Think  you  are  perfect  in  your 
work  even  if  you  have  made  a number 
of  successful  pictures.  There  is  always 
much  to  be  learned  in  the  art  of  pho- 
tography. 

Don’t — Promise  pictures  to  your 
friends,  unless  you  intend  fulfilling  the 
obligation. 

Don’t — Expect  your  camera  to  accom- 
plish more  than  you  know. 


PART  II 

Some  Specimens  of  Good  Photography 


Author’s  Note  to  Part  II 


The  author’s  purpose  in  adding  Part  II 
to  this  volume  is  to  demonstrate  to  the 
beginner  how  a subject,  whether  land- 
scape or  figure,  may  be  selected  or  posed 
so  as  to  avoid  many  of  the  errors  and 
bad  effects  shown  in  Part  I ; and  also  to 
give  some  examples  of  correct  time  and 
instantaneous  photography. 

With  careful  study  of  the  subject  to  be 
photographed  with  figures  placed  in  the 
most  natural  and  graceful  attitudes  sug- 
gested by  artistic  taste  and  judgment, 
and  with  all  other  necessary  circumstan- 
ces taken  into  consideration,  we  need  not 
fear  for  the  ultimate  success  of  any  ear- 
nest amateur. 

The  few  photographs  here  shown  will 


172  Author's  Note  to  Part  II 

suggest  what  may  be  expected  of  lens, 
shutter,  plate,  and  operator  ; the  operator, 
however,  is  by  far  the  most  important 
factor. 

It  is  not  claimed  that  these  photo- 
graphs are  perfect  in  execution  or  that 
they  reach  the  highest  point  of  artistic 
photography ; they  are  simply  samples 
of  good  work  showing  results  which,  with 
care  and  practice  any  amateur  may  at- 
tain. 

No  use  has  been  made  of  double  print- 
ing for  cloud  values  or  of  various  other 
manipulations  of  the  negative  to  produce 
extremes  of  light  and  shade.  These  ef- 
fects are  so  extensive  in  their  character 
that  much  could  be  written  in  relation 
thereto  ; but  this  course  has  been  avoided 
that  the  amateur  might  not  become  per- 
plexed. 

Let  your  photographs  express  individu- 
ality ; and,  as  far  as  possible,  sentiment. 


Author's  Note  to  Part  II 


m 


Keep  your  own  style  and  originality,  for 
by  doing  that  you  will  become  a leader 
in  photography,  and  not  a mere  copyist 
or  follower  of  others. 


Made  with  Voigtlander  Lens  No.  2. 
Diaphragm  No.  32. 

Plate — Seed’s  “ Gilt  Edge  ” Sensitom- 
eter  27. 

Size  plate — 6ix8i  inches. 

In  studio — moderate  light. 

Time  exposure  12  seconds. 


II 

Made  with  Voigt  lander  Lens  No.  2. 
Diaphragm  No.  16. 

Plate — “ Cramer  Crown.” 

Size  plate — 6ix8i  inches. 

In  studio — moderate  light. 

Time  exposure  10  seconds. 


Ill 

Made  with  Voigtlander  Lens  No.  2 
Diaphragm  No.  16. 

Plate — “ Cramer  Crown. ” 

Size  plate — 6ix8i  inches. 

In  studio — moderate  light. 

Time  exposure  10  seconds. 


IV 

Made  with  Voigtlander  Lens  No.  2. 
Diaphragm  No.  32. 

Plate — Seed's  “ Gilt  Edge  ” Sensitom- 
eter  27. 

Size  plate — 6ix8i  inches. 

In  studio — moderate  light. 

Time  exposure  12  seconds. 


\ 


V 

Made  with  Bausch  & Lomb  Rapid  Rec- 
tilinear Lens. 

Diaphragm  No.  8. 

Eastman  Film  Cartridge. 

Size  film — 5x7  inches. 

Camera  “ No.  5 ” Eastman  Cartridge 
Kodak. 

Day  partly  cloudy. 

Time  exposure  i second. 


Note. — To  produce  the  indistinct  effect  shown  in  this 
background,  use  a No.  8 or  even  No.  4 diaphragm.  Focus 
sharply  upon  the  object  or  figure. 


VI 

Made  with  Voigtlander  Lens  No.  2. 
Diaphragm  No.  16. 

Plate — “ Cramer  Crown.” 

Size  plate — 6ix8i  inches. 

In  studio — shaded  light. 

Time  exposure  15  seconds. 


VII 


Made  with  Bausch  & Lomb  Rapid  Rec- 
tilinear Lens. 

Diaphragm  No  64. 

Eastman  Film  Cartridge. 

Size  film — 5x7  inches. 

Camera  “No.  5 ” Eastman  Cartridge 
Kodak. 

Day  clear  and  bright — no  wind. 

Time  exposure  1 second. 


Note. — To  produce  the  sharp  effect  shown  in  this  picture 
— stop  down  the  lens — using  stop  No.  64  or  even  smaller 
diaphragm. 


VIII 

Made  with  Bausch  & Lomb  Rapid  Rec- 
tilinear Lens. 

Diaphragm  No.  16. 

Eastman  Film  Cartridge. 

Size  film — 5x7  inches. 

Camera  “ No.  5 ” Eastman  Cartridge 
Kodak. 

Day  clear  and  bright. 

Exposure  100th  part  of  one  second. 


IX 


Made  with  Bausch  & Lomb  Rapid  Rec- 
tilinear Lens. 

Diaphragm  No.  16. 

Eastman  Film  Cartridge. 

Size  film — 5x7  inches. 

Camera  “ No.  5 ” Eastman  Cartridge 
Kodak. 

Day  clear  and  bright. 

Exposure  100th  part  of  one  second. 


X 

Made  with  Bausch  & Lomb  Rapid  Rec- 
tilinear Lens. 

Diaphragm  No.  16. 

Eastman  Film  Cartridge. 

Size  film — 5x7  inches. 

Camera  “ No.  5 ” Eastman  Cartridge 
Kodak. 

Day  clear  and  bright. 

Exposure  100th  part  of  one  second. 


XI 


Made  with  Eastman's  “ No.  1 A”  Fold- 
ing Pocket  Kodak. 

Diaphragm  “ open  stop.” 

Eastman  Film  Cartridge. 

Size  film  21x41  inches. 

Day  clear. 

Exposure  75th  part  of  one  second. 


XII 

Made  with  R.  & J.  Beck  Lens  5x4  Rec- 
tilinear 7 inch  focus  lens. 

Diaphragm  No.  16. 

Plate — Seed’s  “ Gilt  Edge  ” Sensitom- 
eter  27. 

Size  plate — 4x5  inches. 

Light  good. 

Exposure  200th  part  of  one  second. 


Use  tKe  Bright  White  Light  for 

Bromide  Enlargements,  Photo  Engraving, 
Lantern  Slide  Making  amd  Copying  v* 

Superior  to  daylight  because 
Steady  and  Strong.  Burns 
kerosene,  hence  absolutely 
safe;  costs  lc.  an  hour, 
portable  and  complete  in 
itself  r no  expense  for  instal- 
lation. 

The  Bright 
White  Light 

fits  any  Magic  Lantern, 
intensely  brilliant,  absolutely 
safe  ; three  times  as  brilliant 
as  Acetylene  or  Electric  In- 
candescent Light  at  one- 
tenth  its  cost. 

Fits  Moving  Picture 
Film  Machines. 

La.rge  Stock  Maggie  Lanterns, 
Stereopticorvs 

40.000 
Lantern 
Slides 
for  Rent 

Send  for  Catalogue 
free 

Willia.ms,  Brown  (Si.  Earle 

Ma.nufa.cturing  Opticians 
Kodak  and  Photographic  Stock  Dealers 

No.  918  Chestnut  Street,  Dept.  10 
Philadelphia 


KODAK 

FILMS, 

By  reason  of  their  non-halation  quality  and  because 
of  the  great  ‘ ‘ latitude  ’ ' which  they  give  in  expo- 
sure, produce  better  results  than  glass  plates. 
Kodaks  load  in  daylight — plate  cameras  require  a 
dark  room. 


Kodaks,  $5.00  to  $75.00 

A new  folding  Kodak  for  the  pocket,  almost  for 
the  vest  pocket,  at  $6.00. 

EASTMAN  KODAK  CO. 

ROCHESTER,  N.  Y. 

Catalogues  free  at  the 
dealers  or  by  mail 


— 


Pictures 

Mounted 

with 


Have  an  excellence  peculiarly  their 
own.  The  best  results  are  only  pro- 
duced by  the  best  methods  and 
means— the  best  results  in  Photo- 
graph. Poster  and  other  mounting 
can  only  be  attained  by  using  the 
best  mounting  paste— 

Higgins* 
Photo  Mounter 


HIGGINS’ 

PHOTO 

MOUNTER 


(Excellent  novel  brush  with  each  Jar) 

At  Dealers  in  Photo  Supplies, 
Artists’  Materials  and  Stationery 

A 3-oz.  jar  prepaid  by  mail  for  thirty  cts. 
or  circulars  free,  from 

Chas.  M.  Higgins  & Co. 

Manufacturers 


NEW  YORK  CHICAGO 

Main  Office,  27 1 Ninth  Street 
Factory ,240-244  Eighth  St. 


LONDON 


BROOKLYN,  N.  Y.,  U.  S.  A. 


Photographic 

LENSES 

are 

Voigtlander  & Son’s 

Made  by  the  original  firm  in 
Braunschweig,  Germany. 

They  are  unequalled. 

Sole  American  Agents 

Benj.  French  Co. 

BOSTON.  MASS. 


The  Platinotype 

Sepia  and  Black 

WILLIS  & 

CLEMENTS  believe  their  best  combination  to  be 
KK  for  Smooth  Surface  Prints 

(Supplanting  BB  and  new  BB) 

CC  for  Rough  Surface  Prints 

Send  25  cents  for  sample  package  Sepia  or  Black 
with  developer. 

WILLIS  CLEMENTS 

1624  Chestnut  Street  PHILADELPHIA 


Love  Tales 

American  Love  Tales  English  Love  Tales 
Scotch  Love  Tales  Irish  Love  Tales 

German  Love  Tales 

Each  volume  16mo.  Cloth  or  limp  leather.  With  dainty 
cover  design  and  photogravure  frontispiece.  Cloth,  net,  50  cents 
per  volume  ; by  mail,  55  cents.  Limp  leather,  net,  8o  cents  per 
volume  ; by  mail,  85  cents. 

Who  does  not  enjoy  a love  story,  especially  if  it  is  a good  one?  Each 
of  the  above  five  volumes  contains  eight  or  more  stories  by  representative 
writers  of  that  particular  country,  and  as  the  selection  has  been  carefully 
made  we  feel  sure  they  will  commend  themselves  to  everyone  upon  perusal. 

George  W.  Jacobs  Co.,  Publishers 

PHILADELPHIA 


“ Should  be  in  the  library  of  every  huntsman  in  the 
country.” — Sporting  News. 

Sport  Indeed 

By  Thomas  Martindale.  8vo.  Cloth.  With  24 
full-page  illustrations  from  photographs  taken 
by  the  author.  Price,  net,  $1.60;  by  mail 
$1.77. 

It  is  hard  to  say  whether  sportsmen,  or  lovers  of  nature 
in  general,  or  those  who  are  fond  of  anecdote  and  shrewd 
observation  expressed  in  terse  and  vigorous  English,  are 
most  deeply  indebted  to  Mr.  Martindale  for  his  new  book. — 
The  New  York  Commercial  c -Advertiser . 

Diverting  to  an  unusual  degree  in  his  descriptions  of 
the  joys  of  the  hunt. — The  New  York  Times  Saturday  Book 
Review. 

A bright,  entertaining,  interesting  book,  which  every 
devotee  of  outdoor  life  and  hunting  will  enjoy  from  the  first 
page  to  the  last  —Sporting  Life. 

Furnishes  a store  of  entertainment  which  will  serve  to 
relieve  the  tedium  of  many  a long,  stormy  winter’s  evening. 
— The  Sportsmen  s Review. 

It  shows  how  it  is  possible  for  a business  man  to  retain 
his  love  for  fields,  woods,  streams,  and  forest  craft,  while 
still  actively  engaged  in  commercial  pursuits  ; how  youthful 
enthusiasm  in  these  matters  may  keep  anyone  from  growing 
old.  A breezy,  health-laden  book. — The  Boston  Globe. 

George  W.  Jacobs  Co.f  Publishers 

PHILADELPHIA 


365  Breakfast  Dishes 
365  Desserts  ^ ^ ^ 


Two  little  books  which  provide  an  appetizing 
breakfast  and  a dainty  dessert  for  every  day  in 
the  year.  Prepared  by  one  who  is  familiar  with 
the  needs  of  good  cuisine,  these  little  books 
contain  just  such  information  as  will  be  helpful 
and  invaluable  to  every  housekeeper. 

Compiled  from  Mrs.  Lincoln,  Marion  Harland, 
Mrs.  Lemcke,  “Table  Talk,”  “Good  House- 
keeping,” “ The  Boston  Cooking  School  Maga- 
zine,” and  others.  Price,  40  cents  net,  per  copy ; 
postpaid,  45  cents  each. 


George  W.  Jacobs  & Co.,  Publishers 


PHILADELPHIA 


A book  which  aims  to  do  for  the  cat  what  “ Black 
Beauty  ” has  done  for  the  horse  and  “ Beautiful  Joe  ” 
for  the  dog. 


Highly 
commend- 
ed by 
Hezekiah 
Butterworth, 
Agnes 
Repplier, 
Elbert 
Hubbard, 
Charles  W. 
Chesnutt, 
Mrs.  Mary 
F.  Lovell 
and  others. 


PUSSY 

MEOW 


PATTESO 


The 

introduction 
is  written 
by  Mrs. 
Sarah  K. 
Bolton. 
Attractively 
bound  in 
cloth  and 
fully 

illustrated 

from 

photographs. 


“ ‘ Pussy  Meow  ’ is  not  a sermon,  or  a treatise  on 
the  care  of  cats,  pure  and  simple.  It  is  first  and  foremost 
an  interesting  story,  which  is  sure  to  find  a welcome 
in  every  library  where  it  is  sent.” — The  Cleveland 
cPlaindedler, 

“A  better  book  could  not  be  placed  in  the  hands  of 
children.” — The  Indianapolis  Independent . 


Price : Net,  60  Cents.  By  Mail,  70  Cents 


George  W.  Jacobs  (El  Co.,  Publishers 

PHILADELPHIA 


Wit  and  Humor  Books 

EnglisH  Wit  and  Humor 
Irish  Wit  and  Humor 
Scotch  Wit  and  Humor 

With  handsome  cover  design  in  gold  and  frontispieces  of 
Sidney  Smith,  Thomas  Moore  and  Thomas  Campbell.  16mo. 
Cloth.  Each,  net,  50  cents ; by  mail  55  cents.  Full  limp 
leather,  each,  net,  80  cents  ; by  mail  85  cents  ; or  the  three 
books  neatly  boxed,  cloth,  per  set,  net,  $1.50 ; by  mail 
$1.65.  Full  limp  leather,  per  set,  net,  $2.40  ; by  mail  $2.55. 

The  best  anecdotes,  witticisms  and  humorous  stories 
in  the  English  language  are  here  brought  together,  making 
a veritable  feast  of  brilliant  sayings  and  epigrams. — 
‘Philadelphia  Press . 

American  Wit  and  Humor 

Compiled  by  D.  K.  Simonds,  with  handsome  cover  design  in 
gold,  and  frontispieces  of  Mark  Twain  and  Oliver  Wendell 
Holmes.  Uniform  with  English,  Irish  and  Scotch  Wit  and 
Humor.  Two  vols.  in  a box,  cloth,  net,  $1.00  ; by  mail  $1.10. 
Full  limp  leather,  net,  $1.60;  by  mail  $1.70. 

Mr.  Simonds  has  taken  the  time  and  the  trouble,  not 
only  to  observe  the  humorous  sayings  of  his  countrymen, 
but  to  collect  them  in  two  dainty  little  volumes ; and 
those  who  merely  glance  through  the  books  or  peruse  them 
more  leisurely  will  agree  that  although  America  has  never 
been  deemed  a witty  nation,  yet  Americans  are  not  devoid 
of  humor. 

George  W.  Jacobs  & Co.,  Publishers 

PHILADELPHIA 


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